Stacked Media Elements with Selective Parallax Effects

ABSTRACT

According to one embodiment, a method includes obtaining a media composition for display on an electronic display device is obtained. The media composition includes a plurality of layers, with each layer including a visual element. The method also includes selecting at least some of the layers of the media composition to have a parallax effect applied thereto and determining an amount of total parallax effect to apply to the selected layers. Also, the method includes determining an appropriate amount of offset to apply to each of the selected layers on an individual basis and shifting the selected layers in one or more directions by their respective appropriate amounts. Moreover, the method includes displaying the media composition showing the parallax effect on the electronic display device.

INCORPORATION BY REFERENCE

The following application is hereby incorporated by reference:application no. 62/822,913 filed on Mar. 24, 2019. The Applicant herebyrescinds any disclaimer of claim scope in the parent application or theprosecution history thereof and advises the USPTO that the claims inthis application may be broader than any claim in the parentapplication.

TECHNICAL FIELD

The disclosure generally relates to displaying visual media elements,and more particularly to displaying stacked media elements thatimplement selective parallax effects.

BACKGROUND

Visual media elements, such as images and videos, are used to market andpromote media compositions, such as movies, films, and television shows.However, these visual media elements do not allow for user interactionor variance once they are composed, and therefore do not provide athoroughly engaging viewing experience to promote such mediacompositions.

SUMMARY

In some implementations, a method includes obtaining a media compositionfor display on an electronic display device is obtained. The mediacomposition includes a plurality of layers, with each layer including atleast one visual element. The method also includes selecting at leastsome of the layers of the media composition to have a parallax effectapplied thereto and determining an amount of total parallax effect toapply to the selected layers. Also, the method includes determining anappropriate amount of offset to apply to each of the selected layers onan individual basis and shifting the selected layers in one or moredirections by their respective appropriate amounts of offset. Moreover,the method includes displaying the media composition showing theparallax effect on the electronic display device.

Particular implementations provide at least the following advantages. Amedia composition may include visual elements which are selectivelyincluded for having a parallax effect applied thereto. The visualelements may be text, images, animations, videos, or any other type ofvisual element. Moreover, videos may have transparency added thereto, toallow lower layers to be seen through portions of the videos that arenot desired to be opaque, thereby allowing for a more immersiveexperience for viewers of the media composition once the parallax effectis applied to layers thereof.

Details of one or more implementations are set forth in the accompanyingdrawings and the description below. Other features, aspects, andpotential advantages will be apparent from the description and drawings,and from the claims.

DESCRIPTION OF DRAWINGS

FIGS. 1A-1E show a top-down view of a parallax effect applied to a setof stacked visual elements of a media composition, in one example.

FIGS. 2A-2B show a top-down view of a parallax effect applied to anotherset of stacked visual elements, in one example.

FIGS. 3A-3C show a side view of a parallax effect applied to a set ofstacked visual elements, in an example.

FIGS. 4A-4E show a parallax effect applied to a set of stacked visualelements, in an example.

FIGS. 5A-5E show a parallax effect applied to a set of stacked visualelements, in another example.

FIGS. 6A-6B show a method for adding transparency to a video elementaccording to one example.

FIGS. 7A-7B show another method for adding transparency to a videoelement according to an example.

FIG. 8 is flow diagram of an example process for applying a parallaxeffect to a set of stacked visual elements.

FIG. 9 is flow diagram of an example process for providing transparencyto a video.

FIG. 10 is flow diagram of another example process for providingtransparency to a video.

FIG. 11 is a block diagram of an example computing device that mayimplement the features and processes of FIGS. 1-10.

Like reference symbols in the various drawings indicate like elements.

DETAILED DESCRIPTION

A visual element, as used herein, describes a media object that iscapable of being displayed within a media composition on atwo-dimensional electronic display device. A visual element may includea video, a static image, a series of images that form a single animatedimage, in several examples, or any other visual property, component,module, and/or portion that may be displayed in a media composition aswould be known to one of skill in the art. A media composition may haveany format capable of providing data needed to display a set of visualelements, such as a widget, a video file, another proprietary format,etc. A media composition includes more than one visual element, such asa video and a static image, two static images and an animated image,multiple videos with a static banner, etc., and may have any size,purpose, length of running time, or other property provided by theformat chosen to store the media composition.

A parallax effect may be described as a displacement or shift in viewedobjects that changes depending on an angle of viewing the objects. Inother words, the parallax effect, which makes it appear to a viewer thatobjects have moved, is caused by viewing the objects along differentsight lines.

Although it may be desirable to impute a parallax effect to objectsdisplayed on an electronic display device, such as a computer monitor, atelevision set, etc., such electronic display devices do not have thecapability to allow two-dimensionally displayed objects to be viewedfrom multiple angles. Instead, these electronic display devices presentobjects in a two-dimensional media composition from one angle regardlessof how the user views the electronic display device. The viewing angleis determined by the designer of the media composition and does notchange. Consequently, a parallax effect may be provided to a mediacomposition using another technique that does not rely on changing aviewing angle of the user, according to various embodiments describedherein.

In the present descriptions, the parallax effect for a media compositionis achieved by shifting (e.g., offsetting) one or more visual elementsfrom a set of visual elements within the media composition in one ormore lateral directions normal to the two-dimensional plane on which thevisual elements are displayed in the media composition. In certainapproaches, the shifting is applied to visual elements progressively toa selected subset of the elements within the media composition.

Adding a Parallax Effect

FIGS. 1A-1E show a parallax effect applied to a set of stacked visualelements in a media composition, in one example. Now referring to FIG.1A, a top-down view of a media composition is shown in a firstconfiguration 100 with a neutral input position (indicated as a blackcircle centered within the white circle). The media compositioncomprises a set of stacked visual elements that together provide thebasis for the media composition. The extent of the media composition(total area displayed) is set by a frame 114 that determines theviewable area of the media composition (the viewable area is determinedby a width and a height of the frame 114 in one approach). The frame 114is shown as a rectangular shape, but may have any two-dimensional shapeas chosen by a designer of the media composition, such as circular,elliptical, triangular, pentagonal, hexagonal, etc. Moreover, the sizeand shape of the frame 114 may be chosen to integrate into a graphicaluser interface (GUI).

Each of the visual elements is comprised in an individual layer that arestacked within the media composition, such that the media compositioncomprises a plurality of layers, each layer comprising a visual element.In the present descriptions, layer and visual element may be usedinterchangeably to describe the objects in the media composition. In theexample of FIG. 1A, the set of visual elements include, in order of thestack, a background layer 102, layer 1 104, layer 2 106, layer 3 108,layer 4 110, and a stationary layer 112.

The frame 114, x-y axis, and input position indicator are fordescriptive purposes only, and are not reproduced in the mediacomposition in one approach. In another approach, the frame 114 may bevisible to indicate a border around the media composition.

The background layer 102 is the lowest layer in the media composition,and in FIGS. 1A-1E, is shown as a static image (cross-hatched in thisexample), but may be a video, a set of images that form an animatedimage, or some other type of visual element known in the art. As shown,the background layer 102 is deselected from having the parallax effectapplied, such as by a designer of the media composition, therebyrendering the background layer 102 static or stationary. In other words,the background layer 102 is not effected by the parallax effect.However, in other configurations, the background layer 102 may beselected to have the parallax effect applied thereto, as shown in FIGS.2A-2B.

Referring again to FIGS. 1A-1E, layer 1 104 is positioned above thebackground layer 102 in the media composition, and is shown as a smallcloud image located in the upper left portion of the media composition.The small cloud is a single image that has been selected to have theparallax effect applied, and therefore will shift position within theframe 114 in response to the input position, in this example.

Layer 2 106 is positioned above the background layer 102 and offset fromlayer 1 104. Layer 2 106 is shown as a medium cloud image located in theupper right portion of the media composition. The medium cloud is asingle image that has been selected to have the parallax effect applied,and therefore will shift position within the frame 114 in response tothe input position, in this example.

Layer 3 108 is positioned above the background layer 102 and layer 2106, offset from layer 1 104. Layer 3 108 is shown as a large cloudlocated in the lower center portion of the media composition. The largecloud is a video (that plays for its entire length once the mediacomposition is activated) that has been selected to have the parallaxeffect applied, and therefore will shift position within the frame 114in response to the input position, in this example. As can be seen, thevideo is confined within the bounds of the cloud edges, and between theridges of the cloud, layer(s) positioned below are visible. Moreover,the video will play over time, as demonstrated by the changing of theshaded regions of the large cloud when viewed across the differentconfigurations shown in FIGS. 1A-1E. This is intended to demonstratethat the parallax effect may be applied even while videos and animationare active and playing in the media composition.

Layer 4 110 is positioned above the background layer 102 and layer 3108, and offset from layer 1 104 and layer 2 106. Layer 4 110 is shownas a person located in the left lower center portion of the mediacomposition. The person is a single image that has been selected to havethe parallax effect applied, and therefore will shift position withinthe frame 114 in response to the input position, in this example.

The stationary layer 112 is positioned above the background layer 102 inthe lower left portion of the media composition. Stationary layer 112 isshown as a static image of a rectangle which has been deselected fromhaving the parallax effect applied, such as by the designer. Thestationary layer 112 will not shift position within the frame 114 inresponse to the input position, in this example, thereby rendering thestationary layer 112 static or motionless.

As shown, the background layer 102 is selected to be static by adesigner of the media composition, and is not effected by the parallaxeffect. However, in other configurations, the background layer 102 mayalso have the parallax effect applied thereto, as shown in FIGS. 2A-2B.Moreover, in FIGS. 1A-1E, the background layer 102 is shown as being asame size as the frame 114, but is not so restricted, and may insteadhave any size and shape as desired by the designer. Should thebackground layer 102 have transparent portions, then a display defaultwill be shown behind the transparent portions of the background layer102 when not covered by other upper layers.

The input position, in one approach, may be used to indicate the amountof parallax effect to apply to the media composition. When the inputposition is neutral (centered in the circle), the media composition isdisplayed in its unaltered form (e.g., with no parallax effect applied).In response to the input position moving to the left of the circle (asin FIG. 1B), to the right of the circle (as in FIG. 1C), to the top ofthe circle (as in FIG. 1D), and to the bottom of the circle (as in FIG.1E), different parallax effects may be applied to the media composition.

In another approach, the parallax effect may be applied to the mediacomposition in one or more directions in response to a trigger orcondition being satisfied with or without user input. Any trigger may beused to cause the parallax effect to be applied, such as, for example,an application launching on a computing system, a user selecting themedia composition or some other portion of a graphical user interface(GUI) on the display, a time period elapsing, a time of day beingachieved, periodically, etc. Any user input device and input type may beused for selecting with the GUI, such as selection with a mouse, hoverover a portion of the GUI using a mouse, selection or hover with atrackpad, selection or hover in response to a user's eye gaze asdetected using an eye tracking device, an accelerometer or othermovement sensor denoting movement of a computing device, light sensordenoting changes to an environment in which a computing device isplaced, or other input device and method of detecting input known in theart.

In an example, a trigger may comprise moving a ribbon of a GUI thatdisplays one or more media compositions, and while the ribbon is moved,the parallax effect may be applied to selected visual elements of theone or more media compositions. This example does not need userinteraction with any specific media composition. Instead, this triggerrelies on interaction with a secondary GUI that is displaying the one ormore media compositions.

Any layer in the media composition may include animation and/or videocontent with a predetermined length. In one approach, once the animationand/or video has finished playing in its entirety, the animation and/orvideo may stop. In a further approach, a default static image may bedisplayed that occupies the same area in the media composition as theanimation and/or video. This default static image may be selected by adesigner or set automatically as the first frame of the animation and/orvideo. In another approach, once the animation and/or video has finishedplaying in its entirety, the animation and/or video may be restartedautomatically at a beginning thereof and play endlessly or for apredetermined number of cycles. According to a further approach, theanimation and/or video may be designed to start and end with the same orsubstantially similar images, thereby giving an effect of playingendlessly without any break or end (referred to as “looped play”).

The total amount of parallax effect that is applied to the mediacomposition may be predetermined, or may be based on some parameters ofthe media composition, such as size of the frame 114 in relation to atotal canvas size, a size of individual layers within the mediacomposition, etc.

Now referring to FIG. 1B, a top-down view of the media composition isshown in a second configuration 116 with a left input position(indicated as the black circle on the left side of the white circle). Asshown, each of the layers which have parallax effects selected (layer 1104, layer 2 106, layer 3 108, and layer 4 110, herein the “parallaxlayers”) have shifted to the right, while the layers which have parallaxeffects deselected (background layer 102 and stationary layer 112)remain in their original positions from FIG. 1A.

The amount of offset (e.g., shift) applied for the different parallaxlayers may be vary from one layer to the next, and may be based on anamount of directional input (e.g., whether the input position iscompletely left to the edge of the circle, or partially left with moreroom to push to the left before reaching the edge of the circle). InFIG. 1B, it is shown that layer 1 104 shifts the least amount whilelayer 4 110 shifts the greatest amount. This is in accordance with oneembodiment, where the amount of parallax effect (shift) applied to eachindividual layer is determined based on a position of the layer withinthe stack of visual elements that comprise the media composition.Because layer 1 104 is closest to the bottom of the stack (and isselected to have parallax effects applied thereto unlike backgroundlayer 102), it receives the least amount of offset to reproduce theeffect of a distant object in a field of view. If background layer 102is not a stationary layer, then it would shift the least amount in FIG.1B. In contrast, layer 4 110 is farthest from the bottom of the stack,and therefore it receives the greatest amount of offset to reproduce theeffect of a close object in the field of view.

In one approach, the amount of offset applied to the parallax layers isevenly distributed across the number of parallax layers. In FIGS. 1A-1E,there are four parallax layers, so each progressive parallax layerreceives an additional 25% of the total parallax effect (25% shift forlayer 1 104, 50% shift for layer 2 106, 75% shift for layer 3 108, 100%shift for layer 4 110). If there were ten parallax layers, then eachprogressive parallax layer would receive an additional 10% of the totalparallax effect (10% for first layer, 20% for second layer, . . . , 90%for ninth layer, 100% for tenth layer). Any other method of evendistribution for the parallax effect may be used in the embodimentsdescribed herein as would be understood by one of skill in the art.

In another approach, the amount of offset applied to the parallax layersmay be distributed across the number of parallax layers according to analgorithm or equation. According to one example algorithm, the amount ofparallax effect applied to each layer may be determined based on anequation that progressively increases a fractional percentage, such as (1/10) 10% shift for layer 1 104, ( 1/10+ 2/10) 30% shift for layer 2106, ( 1/10+ 2/10+ 4/10) 70% shift for layer 3 108, 100% shift for layer4 110. In another example, the distribution of the shift may beinverted, such that layer 4 110 receives the least amount of offset andlayer 1 104 receives the greatest amount of offset.

According to another embodiment, the amount of offset applied to each ofthe parallax layers may be set by the designer of the media composition,with the amount of effect being related to or unrelated with the stackorder. For example, layer 3 108 may have 80% shift applied, layer 1 104may have 60% shift applied, while all other parallax layers have only20% shift applied. Moreover, there is no requirement that all 100% ofthe available parallax effect is ever applied to any of the layers, inapproaches described herein.

Now referring to FIG. 1C, a top-down view of the media composition isshown in a third configuration 118 with a right input position(indicated as the black circle on the right side of the white circle).As shown, each of the parallax layers have shifted to the left, whilethe layers which have parallax effects deselected (background layer 102and stationary layer 112) remain in their original positions from FIG.1A.

In FIG. 1C, it is shown that layer 1 104 shifts the least amount whilelayer 4 110 shifts the greatest amount. This is in accordance with oneembodiment, where the amount of offset applied to each individual layeris determined based on a position of the layer within the stack ofvisual elements that comprise the media composition.

Now referring to FIG. 1D, a top-down view of the media composition isshown in a fourth configuration 120 with a top input position (indicatedas the black circle on the top of the white circle). As shown, each ofthe parallax layers have shifted to the bottom, while the layers whichhave parallax effects deselected (background layer 102 and stationarylayer 112) remain in their original positions from FIG. 1A.

In FIG. 1D, it is shown that layer 1 104 shifts the least amount whilelayer 4 110 shifts the greatest amount. This is in accordance with oneembodiment, where the amount of offset applied to each individual layeris determined based on a position of the layer within the stack ofvisual elements that comprise the media composition.

Now referring to FIG. 1E, a top-down view of the media composition isshown in a fifth configuration 122 with a bottom input position(indicated as the black circle on the bottom of the white circle). Asshown, each of the parallax layers have shifted to the top, while thelayers which have parallax effects deselected (background layer 102 andstationary layer 112) remain in their original positions from FIG. 1A.

In FIG. 1E, it is shown that layer 1 104 shifts the least amount whilelayer 4 110 shifts the greatest amount. This is in accordance with oneembodiment, where the amount of offset applied to each individual layeris determined based on a position of the layer within the stack ofvisual elements that comprise the media composition.

FIGS. 2A-2B show a parallax effect applied to a set of stacked visualelements in a media composition, in one example. Now referring to FIG.2A, a top-down view of a media composition is shown in a configuration200 with a neutral input position. The media composition comprises a setof stacked visual elements that together provide the basis for the mediacomposition. The extent of the media composition (total area displayed)is set by the frame 204 that determines the viewable area of the mediacomposition. In the example of FIG. 2A, the set of visual elementsinclude, in order of the stack, a background layer 202, layer 1 104,layer 2 106, stationary layer 206, layer 3 108, and layer 4 110.

The background layer 202 is the lowest layer in the media composition,and in FIGS. 2A-2B, is shown as an image (cross-hatched in this example)that is larger than the frame 204, but may be a video, a set of imagesthat form an animated image, or some other type of visual element knownin the art. As shown, the background layer 202 is selected to have theparallax effect applied, such as by the designer of the mediacomposition, and therefore will shift position within the frame 204 inresponse to the input position, in this example. Moreover, portions ofthe background layer 202 are not visible due to the size being largerthan the frame 204 (the portions of the background layer 202 around theedges that extend beyond the frame 204. However, as the parallax effectis applied to the media composition, some or all of these portions maybe visible at different times as the input position is moved.

Layer 1 104 is positioned above the background layer 202 in the mediacomposition, and is shown as a small cloud image located in the upperleft portion of the media composition. The small cloud is a single imagethat has been selected to have the parallax effect applied, andtherefore will shift position within the frame 204 in response to theinput position, in this example.

Layer 2 106 is positioned above the background layer 202 and offset fromlayer 1 104. Layer 2 106 is shown as a medium cloud image located in theupper right portion of the media composition. The medium cloud is asingle image that has been selected to have the parallax effect applied,and therefore will shift position within the frame 204 in response tothe input position, in this example.

The stationary layer 206 is positioned above the background layer 202 inthe middle right portion of the media composition. Stationary layer 206is shown as a static image of a sun partially hidden behind a smallcloud. The stationary layer 206, in this example, has been deselectedfrom having the parallax effect applied, such as by the designer.Therefore, in this example, the stationary layer 206 will not shiftposition within the frame 204 in response to the input position, therebyrendering the stationary layer 206 static or motionless. Moreover, thepositioning of this stationary layer 206 demonstrates that the parallaxeffect may be applied to layers above and/or below any stationary layerin a media composition, and the parallax layers will shift above andbelow the stationary layer 206 in response to the input position.

Layer 3 108 is positioned above the background layer 102, layer 2 106,and the stationary layer 206, and is offset from layer 1 104. Layer 3108 is shown as a large cloud located in the lower center portion of themedia composition. The large cloud is a video (that plays for its entirelength once the media composition is activated). Layer 3 108, in thisexample, has been selected to have the parallax effect applied, andtherefore will shift position within the frame 204 in response to theinput position. As can be seen, the video is confined within the boundsof the cloud edges, and between the ridges of the cloud, layer(s)positioned below (e.g., layer 2 106 and stationary layer 206) arevisible. Moreover, the video will play over time, as demonstrated by thechanging of the shaded regions of the large cloud when viewed across thedifferent configurations shown in FIGS. 2A-2B. This is intended todemonstrate that the parallax effect may be applied to the mediacomposition while videos and animation are active and playing.

Layer 4 110 is positioned above the background layer 102 and layer 3108, and offset from layer 1 104, layer 2 106, and stationary layer 206.Layer 4 110 is shown as a person located in the left lower centerportion of the media composition. The person is a single image that hasbeen selected to have the parallax effect applied, and therefore willshift position within the frame 204 in response to the input position,in this example.

Now referring to FIG. 2B, a top-down view of the media composition isshown in another configuration 208 with a down-left input position. Asshown, each of the layers which have parallax effects selected(background layer 202, layer 1 104, layer 2 106, layer 3 108, and layer4 110, herein the “parallax layers”) have shifted to the right and up,while the layer which has parallax effects deselected (stationary layer206) remains in its original positions from FIG. 2A.

The amount of offset applied for the different parallax layers may bevary from one layer to the next, and may be based on an amount ofdirectional input (e.g., whether the input position is completely leftto the edge of the circle, or partially left with more room to push tothe left before reaching the edge of the circle). In FIG. 2B, it isshown that background layer 202 shifts the least amount while layer 4110 shifts the greatest amount. This is in accordance with oneembodiment, where the amount of parallax effect applied to eachindividual layer is determined based on a position of the layer withinthe stack of visual elements that comprise the media composition.Because background layer 202 is closest to the bottom of the stack, itreceives the least amount of offset to reproduce the effect of a distantobject in a field of view. In contrast, layer 4 110 is farthest from thebottom of the stack and closest to an imaginary viewer of the stack, andtherefore it receives the greatest amount of offset to reproduce theeffect of a close object in the field of view.

In one approach, the amount of offset applied to the parallax layers isevenly distributed across the number of parallax layers. In anotherapproach, the amount of offset applied to the parallax layers isdistributed across the number of parallax layers according to analgorithm or equation. According to another embodiment, the amount ofoffset applied to each of the parallax layers may be set by the designerof the media composition, with the amount of effect not being restrictedto being implemented in accordance with the stack order. For example,background 202 may have 100% parallax effect, while all other parallaxlayers have only 20% shift applied.

As can be seen in FIG. 2B, as layer 3 108 shifts, it obscures more ofthe stationary layer 206 than in FIG. 2A. Also, as shown in FIG. 2B, aslayer 2 106 shifts, background layer 202 is exposed between the rays ofthe sun of the stationary layer 206. In other words, the space betweenthe rays of the sun in the stationary layer 206 is transparent, andreveals anything that is positioned below. This is true whether thelayer is an image, an animated image, a video, or any other type ofvisual content.

Now referring to FIGS. 3A-3C, a side view of a parallax effect beingapplied to a set of stacked visual elements is shown in an example. Thex-y plane is shown laid out with the x-axis still being in the widthdirection, and the y-axis extending into the page with a small amount ofperspective added to the layers for clarity. Also, the separationbetween the layers is exaggerated to aid in understanding how theparallax effect works on a layer-by-layer basis.

As shown, the background layer 102, layer 1 104, layer 2 106, layer 3108, and layer 4 110 are selected to have the parallax effect appliedthereto (referred to as the “parallax layers” in the description ofFIGS. 3A-3C), while the stationary layer 112 is deselected from havingthe parallax effect applied thereto. Of course, which layers areselected for parallax effect and which layers are deselected is a choicefor the designer or user of the media composition, and any layer in themedia composition may have parallax selectively applied thereto invarious configurations.

A viewline 302 is positioned normal to the x-y plane in configuration300 shown in FIG. 3A, and intersects the frame 114 at a center pointthereof in both the x-direction and the y-direction. The viewline 302 isused to denote a logical viewing angle for the media composition and howthis logical viewing angle moves and tilts in response to changes in theinput position, which will be simulated by the parallax effect appliedafter receiving the input position changes.

Now referring to FIG. 3B, a configuration 304 is shown with the viewline302 tilting to the right in response to an input position directed tothe right. In other approaches, input position to the right may causethe viewline 302 to tilt to the left or some other direction, as long asit is consistently reproducible. From this viewing angle along theviewline 302 through the frame 114, the positions of the variousparallax layers will appear changed from the positions shown in FIG. 3A.This perceived shift in the positions of the parallax layers relative tothe viewline 302 and frame 114 may be simulated once the viewline 302 isagain positioned normal to the frame 114 by laterally transposing eachparallax layer in FIG. 3B to the left by a different amount, the amountof movement being dependent on the stack order of the layers. This isreferred to as a lateral movement of the parallax layers.

In FIG. 3C, this lateral movement of the parallax layers is shown inconfiguration 306 with the viewline 302 again positioned normal to theframe 114, while the input position is still directed to the right. Theconfiguration 306 illustrates how the parallax layers shift laterallyleftward to simulate the parallax effect. As shown, each of the parallaxlayers have been shifted to the left by appropriate amounts depending ontheir respective stack order, such that relative to the frame 114, thepositions of the parallax layers is changed, while the position of thestationary layer 112 is unchanged. In this example, the amount of offsetis smallest for the background layer 102 and greatest for layer 4 110,with intermediate amounts for layer 2 106 and layer 3 108.

It can be seen in FIG. 3C that layer 3 108 and layer 4 110 are nowpositioned below the stationary layer 112, while layer 2 106 has movedcloser to the viewline 302. The amount of movement for each layer isindicated on the left side of the diagram by dashed arrows, while thestationary layer 112 is shown having “No Movement.” The indications ofmovement, frame 114, viewline 302, x-y axis, and input positionindicators are for descriptive purposes only, and are not reproduced inthe media composition in an approach.

The parallax effect applied to the parallax layers in FIGS. 3A-3C may bemodified and updated in real time as the input position is changed. Forexample, receiving a rotational input, where the input position isrotated around the circle, may cause the parallax effect to gimbal aboutthe viewline 302, continuously moving the positions of the parallaxlayers within the frame 114 in response to changes in the input positionwith a circular effect.

Now referring to FIGS. 4A-4E a parallax effect is shown being applied toa set of stacked visual elements in a media composition, in an example.FIG. 4A shows a configuration 400 of stacked elements with a neutralinput position (indicated as a black circle centered within the whitecircle). The x-y plane is shown laid out with the x-axis being in thewidth direction, and the y-axis extending into the page with a smallamount of perspective added to the layers for clarity. Also, theseparation between the layers is exaggerated to aid in understanding howthe parallax effect works on a layer-by-layer basis.

The viewline 414 is shown intersecting circular image 406 at itscenterpoint and is positioned normal to the frame 412. This viewline 414logically illustrates how the media composition will be viewed throughthe frame 412 on an electronic display device. The extent of the mediacomposition (total area displayed) is set by the frame 412 thatdetermines the viewable area of the media composition (the viewable areais determined by a width and a height of the frame 412 in one approach).The frame 412 is shown as a rectangular shape, but may have anytwo-dimensional shape as chosen by a designer of the media composition,such as circular, elliptical, triangular, pentagonal, hexagonal, etc.Moreover, the size and shape of the frame 412 may be chosen to integrateinto a GUI, as previously described.

Each of the visual elements is comprised in an individual layer that arestacked within the media composition, such that the media compositioncomprises a plurality of layers, each layer comprising a visual element.In the present descriptions, layer and visual element may be usedinterchangeably to describe the objects in the media composition. In theexample of FIG. 4A, the stacked elements include, starting with a lowestlayer: rectangular image 402, rectangular video 404, circular image 406,circular image 408, and rectangular video 410. All of these layers areselected to have the parallax effect applied except for circular image406. Moreover, as shown, the frame 412 is centered on circular image406, but may conceptually be located inline with, above, or below any ofthe layers, as it simply denotes the viewable area of the mediacomposition.

The frame 412, x-y axis, and input position indicator are fordescriptive purposes only, and are not reproduced in the mediacomposition in one approach. In another approach, the frame 412 may bevisible to indicate a border around the media composition.

Now referring to FIG. 4B, a top-down view of the media composition inconfiguration 400 from FIG. 4A is shown with the neutral input position.As can be seen in FIG. 4B, the rectangular video 410 is positioned abovethe upper left corner of the circular image 406. Circular image 406 ispositioned adjacent circular image 408, and overlaps with rectangularimage 402 and rectangular video 404. Moreover, circular image 408overlaps with rectangular video 404 as well in configuration 400.

Now referring to FIG. 4C, a side view of the media composition is shownin configuration 416 with a left input position. As shown, in thisconfiguration 416, the viewline 414 has two portions, an upper portionextending above the circular image 406 and a lower portion extendingbelow the circular image 406. Both portions of the viewline 414 aretilted to the left in response to the input position directed to theleft, and are positioned closer to elements on the left of the mediacomposition and farther from elements on the right side of the mediacomposition. In other approaches, input position to the left may causethe viewline 414 to tilt to the left or some other direction, as long asit is consistently reproducible. This configuration 416 is an example ofa bisected parallax effect, where the origin of the parallax effect ispositioned at a point within the various layers of the media composition(in this example, coinciding with the circular image 406) instead ofbeing positioned at a lowest or highest layer as described previously.In other approaches, the origin of the parallax effect may be positionedanywhere—between, in, above, or below the layers of the mediacomposition.

From this viewing angle along the viewline 414 through the frame 412,the positions of the various parallax layers will appear changed fromthe positions shown in FIG. 4A. This perceived shift in the positions ofthe parallax layers relative to the viewline 414 and frame 412 may besimulated once the viewline 414 is again positioned normal to the frame412 by laterally transposing each parallax layer in FIG. 4C to the rightby a different amount, the amount of movement being dependent on thestack order of the layers above and below the origin at the circularimage 406.

Now referring to FIG. 4D, this lateral movement of the parallax layersis shown in configuration 418 with the viewline 414 again positionednormal to the frame 412, while the input position is still directed tothe left. The configuration 418 illustrates how the parallax layersshift laterally rightward to simulate the parallax effect. As shown,each of the parallax layers have been shifted to the right byappropriate amounts depending on their respective stack order above andbelow the origin at the circular image 406. The amount of movement foreach layer relative to the frame 412 is indicated on the left side ofthe diagram by dashed arrows, while the circular image 406 is shownhaving “No Movement.” In this example, the amount of offset is smallestfor the circular image 408 and rectangular video 404, and greatest forthe rectangular video 410 and rectangular image 402.

It can be seen in FIG. 4E, a top-down view of configuration 418, thatall parallax layers have shifted to the right in response to the inputposition being to the left. The circular image 408 is now positionedaway from circular image 406 (they are no longer adjacent) and aboverectangular video 404. Also, the layering of the elements is unchangedfrom FIG. 4B, with rectangular video 410 positioned above circular image406, which in turn is positioned above rectangular image 402 andrectangular video 404.

The parallax effect applied to the parallax layers in FIGS. 4A-4E may bemodified and updated in real time as the input position is changed. Forexample, receiving a rotational input, where the input position isrotated around the circle, may cause the parallax effect to gimbal aboutthe viewline 414, continuously moving the positions of the parallaxlayers within the frame 412 in response to changes in the input positionwith a circular effect. The indications of movement, frame 412, viewline414, x-y axis, and input position indicators are for descriptivepurposes only, and are not reproduced in the media composition in anapproach.

FIGS. 5A-5E show a parallax effect being applied to a set of stackedvisual elements in a media composition, in an example. FIG. 5A shows aconfiguration 500 of stacked elements with a neutral input position. Thex-y plane is shown laid out with the x-axis being in the widthdirection, and the y-axis extending into the page with a small amount ofperspective added to the layers for clarity. Also, the separationbetween the layers is exaggerated to aid in understanding how theparallax effect works on a layer-by-layer basis.

The viewline 514 is shown intersecting circular image 506 at itscenterpoint and is positioned normal to the frame 512. This viewline 514logically illustrates how the media composition will be viewed throughthe frame 512 on an electronic display device. The extent of the mediacomposition (total area displayed) is set by the frame 512 thatdetermines the viewable area of the media composition (the viewable areais determined by a width and a height of the frame 512 in one approach).The frame 512 is shown as a rectangular shape, but may have anytwo-dimensional shape as chosen by a designer of the media composition,such as circular, elliptical, triangular, pentagonal, hexagonal, etc.Moreover, the size and shape of the frame 512 may be chosen to integrateinto a GUI, as previously described.

Each of the visual elements is comprised in an individual layer that arestacked within the media composition, such that the media compositioncomprises a plurality of layers, each layer comprising a visual element.In the present descriptions, layer and visual element may be usedinterchangeably to describe the objects in the media composition. In theexample of FIG. 5A, the stacked elements include, starting with a lowestlayer: rectangular image 502, rectangular video 504, circular image 506,circular image 508, and rectangular video 510. All of these layers areselected to have the parallax effect applied except for circular image506. Moreover, as shown, the frame 512 is centered on circular image506, but may conceptually be located inline with, above, or below any ofthe layers, as it simply denotes the viewable area of the mediacomposition.

The frame 512, x-y axis, and input position indicator are fordescriptive purposes only, and are not reproduced in the mediacomposition in one approach. In another approach, the frame 512 may bevisible to indicate a border around the media composition.

Now referring to FIG. 5B, a top-down view of the media composition inconfiguration 500 from FIG. 5A is shown with the neutral input position.As can be seen in FIG. 5B, the rectangular video 510 is positioned abovethe upper left corner of the circular image 506. Circular image 506 ispositioned adjacent circular image 508, and overlaps with rectangularimage 502 and rectangular video 504. Moreover, circular image 508overlaps with rectangular video 504 as well in configuration 500.

Now referring to FIG. 5C, a side view of the media composition is shownin configuration 520 with a right input position. As shown, in thisconfiguration 520, the viewline 514 is tilted to the right in responseto the input position directed to the right, and is centered through thecenterpoint of the circular image 506. This tilting of the viewline 514causes the rectangular video 510 positioned above the circular image 506and the rectangular video 504 positioned below the circular image 506 toappear farther from the viewline 514, while the circular image 508positioned above the circular image 506 and the rectangular image 502positioned below the circular image 506 to appear closer to the viewline514. In other approaches, input position to the right may cause theviewline 514 to tilt to the left or some other direction, as long as itis consistently reproducible. This configuration 520 is an example of aparallax effect that has an origin positioned at a point within thevarious layers of the media composition (in this example, coincidingwith the circular image 506) instead of being positioned at a lowest orhighest layer as described previously. In other approaches, the originof the parallax effect may be positioned anywhere—between, in, above, orbelow the layers of the media composition.

From this viewing angle along the viewline 514 through the frame 512,the positions of the various parallax layers will appear changed fromthe positions shown in FIG. 5A. This perceived shift in the positions ofthe parallax layers relative to the viewline 514 and frame 512 may besimulated once the viewline 514 is again positioned normal to the frame512 by laterally transposing each parallax layer in FIG. 5C to theappropriate direction by a different amount, the amount of movementbeing dependent on the stack order of the layers above and below theorigin at the circular image 506.

Now referring to FIG. 5D, this lateral movement of the parallax layersis shown in configuration 522 with the viewline 514 again positionednormal to the frame 512, while the input position is still directed tothe right. The configuration 522 illustrates how the parallax layerspositioned above the origin layer (circular image 506) shift laterallyto the left while the parallax layers positioned below the origin layershift laterally to the right to simulate the parallax effect. As shown,each of the parallax layers have been shifted by appropriate amountsdepending on their respective stack order above and below the origin atthe circular image 506. The amount of movement for each layer relativeto the frame 512 is indicated on the left side of the diagram by dashedarrows, while the circular image 506 is shown having “No Movement.” Inthis example, the amount of offset is smallest for the circular image508 and rectangular video 504, and greatest for the rectangular video510 and rectangular image 502.

It can be seen in FIG. 5E, a top-down view of configuration 522, thatall parallax layers have shifted in response to the input position beingto the right. The circular image 508 is now overlapping the circularimage 506 (they are no longer simply adjacent one another) and aboverectangular video 504. Also, the layering of the elements is unchangedfrom FIG. 5B, with rectangular video 510 positioned above circular image506, which in turn is positioned above rectangular image 502 andrectangular video 504.

The parallax effect applied to the parallax layers in FIGS. 5A-5E may bemodified and updated in real time as the input position is changed. Forexample, receiving a rotational input, where the input position isrotated around the circle, may cause the parallax effect to gimbal aboutthe viewline 514, continuously moving the positions of the parallaxlayers within the frame 512 in response to changes in the input positionwith a circular effect. The indications of movement, frame 512, viewline514, x-y axis, and input position indicators are for descriptivepurposes only, and are not reproduced in the media composition in anapproach.

Any of the methods and techniques described in FIGS. 1A-1E, 2A-2B,3A-3C, 4A-4E, and 5A-5E may be used to produce a layered stack mediaasset that is reproducible by one or more computing products known inthe art for rendering graphics. The computing product may be capable ofdisplaying packages, zip files, containers, files, images, videos, etc.The media asset includes all data and information needed to render andplay the media composition while providing a parallax effect responsiveto an input position to selected visual elements therein. The mediaasset includes image, animation, and video dimensions, blend-modeeffects to be used on a per layer basis, looping information, positionalinformation for each visual element, and shifts for the visual elementsin response to changing input position.

Moreover, in some approaches, the media asset includes a default imagefor each visual element, including animations and videos of the mediacomposition, when applicable, that are displayed in place of theanimation or video content under certain circumstances. In one approach,the default images are displayed when loading the animation or video.This is useful for ensuring that the media composition does not lack avisual element in case processing power, processing capacity, networkbandwidth, or other computing resource inhibits a seamless integrationof the parallax effect for one or more of the visual elements of themedia composition. In other words, should a video or animation havetrouble loading, a default image, which is included in the media file,may be displayed until the video or animation is loaded successfully.

The media asset also include configuration information that describeshow the visual elements in the media composition change in response tothe input position, particularly how the parallax effect is applied toeach visual element, whether the visual element is static, how muchparallax effect is applied to the media composition, what kinds ofvisual elements are included in the media composition, and any otherinformation that is used in producing the media composition.

Adding Transparency to Videos

Now referring to FIGS. 6A-6B, a method for adding transparency to avideo 600 is shown according to one example. In this example, the video600 includes the word “FUN” which changes as the video is played, asillustrated by the changing shaded letters “F,” “U,” and “N” from FIG.6A to FIG. 6B. Of course, in implementations described herein, any videocontent may be used as the basis for creating a video with transparencyincluded, starting with an original video which does not nativelyinclude transparency or alpha channel. Moreover, any type of digitalformat or container may be used to store the video as would be known toone of skill in the art, such as Audio Video Interleave (AVI), FlashVideo Format (FLV), Matroska Multimedia Container (MKV), Windows™ MediaVideo (WMV), Apple™ QuickTime™ Movie (MOV), Moving Pictures Expert Group4 (MP4), etc. The video content changes over time to create the illusionof movement, and therefore is not a static image.

Referring again to FIG. 6A, the original video 600 includes the letters“F” 602, “U” 604, and “N” 606 surrounded by a background 608, which maybe opaque or otherwise include moving video information that is nottransparent. For inclusion in a media composition, in this example,transparency is desired to surround the word, rather than showing thebackground 608 from the original video 600. It is desired to onlyinclude the letters as video surrounded by transparency to allow forlayers and content behind and between the spaces in the letters to beseen once the media composition is assembled. In other words, theletters will float above any other layers positioned behind the letterswith no extraneous video content to obscure the lower layers. However,using a typical video, this opaque background would be visible andobscure any layers positioned below the video.

In order to overcome this deficiency, a method is described thatprovides transparency or alpha channel to a video 600 which lackstransparency in its native definition or format. The method starts withthe original video 600, and then, as shown in FIG. 6B, creates asecondary video track 618 that includes visual information for only theportions of the original video 600 that are to be reproduced, with thisvisual information being full white (# FFFFFF) in the secondary videotrack 618. In this example, the portions that are to be reproduced arethe letters “F” 610, “U” 612, and “N” 614, which are shown in fullwhite. However, any color may be used to indicate the portion of thevideo 600 that is to be reproduced, in various approaches.

The remaining portion 616 of the secondary video track 618 that containsno visual information is shown in FIG. 6B as being full black (#000000).However, any color other than that being used to reproduce the desiredvideo portion (e.g., the letters “F” 610, “U” 612, and “N” 614) may beused to indicate the portion of the video 600 that is to be reproduced,in various approaches.

Once the secondary video track 618 is created, it is added to theoriginal video 600 and stored to a computer readable medium as a singleentity (e.g., a file). This multiple track video may be reproduced usinga filter that is configured to read the secondary video track 618 andonly reproduce the portions of the original video 600 that coincide withthe desired portions indicated by the secondary video track 618. thismay be accomplished using a filter to detect the white portions of thesecondary video track 618. In approaches where a different color is usedfor the letters “F” 610, “U” 612, and “N” 614 in the secondary videotrack 618, then the filter detects this color instead of white todetermine which portions of the original video 600 to reproduce.

With reference to FIGS. 7A-7B, another method for adding transparency toa video is shown according to several examples. FIG. 7A shows an examplewith a video 700 that includes the word “FUN” with a black background.In this method, a filter is configured that may be applied to the video700 to provide transparency or alpha channel to portions of the video700 which match predetermined color hues.

In an example, all portions of the video 700 which are black (#000000)will be made transparent upon reproduction, while all portions of thevideo 700 which are white (# FFFFFF) will be reproduced as opaque. Anyother color hues in the video 700, such as red, blue, green, shadesthereof, and any shade of grey, will be reproduced semi-transparentbased on the amount of color hue included therein. For example, pureblue (#0000FF), pure red (# FF0000), and pure green (#00FF00) may eachbe reproduced as being 33% transparent (and 67% opaque) when the filteris applied to the video 700.

As shown in FIG. 7A, upon applying the filter, portions 702 of theletters “F,” “U,” and “N” will be reproduced as opaque, portions 704surrounding the letters will be reproduced transparent, and portions 706of the letters “F,” “U,” and “N” will be reproduced as semi-transparentdepending on the specific color hue and the filter settings.

In another example, pure blue (#0000FF), pure red (# FF0000), and puregreen (#00FF00) may each be reproduced as being 67% transparent (and 33%opaque) when the filter is applied to the video 700.

As the coloring of the video changes over time while the video 700 isplayed, the portions of the video 700 which are fully transparent andthose which are fully opaque will also change to match the change incolor hues, providing a life-like reproduction effect for thetransparency. This method is particularly applicable to adding effectsto a media composition, such as smoke, lens flare, and bright lights inaddition to other pre-existing elements.

In one approach, the video may be modified prior to applying the filterto produce a better rendering of the transparent portions. In anexample, pixel colors in the video 708 may be flattened, reduced, and/orcompressed to increase the portions of the video which are full whiteand therefore made transparent upon rendering. This increase in thewhite portions of the video allows for the desired black portions to bethe only visible portions of the video with less semi-transparentcontent. In one embodiment, the brightness of the video may be increasedto increase a percentage of the video that contains full white pixels.In another embodiment, the brightness of the video may be decreased toincrease a percentage of the video that contains full black pixels.

This modification of the color hues of the pixels is particularly usefulfor editing videos which include noise (color hues spread across thevideo 700 in positions that are desired to be made transparent uponapplying the filter).

Any other modification or processing of the video may be performed priorto providing the transparency as would be known to one of skill in theart, while still allowing for transparency to be added to the video.This allows for non-native video formats to have an alpha channel addedthereto for use in a media composition that includes layers of elements.

FIG. 7B shows an example with a video 708 that includes the word “FUN”with a white background. In this method, a filter is configured that maybe applied to the video 708 to provide transparency or alpha channel toportions of the video 708 which match one or more predetermined colorhues. However, in this example, all portions of the video 708 which areblack (#000000) will be made opaque (and visible in its original form)upon reproduction, while all portions of the video 708 which are white(# FFFFFF) will be reproduced as transparent. Any other color hues inthe video 708, such as red, blue, green, shades thereof, and any shadeof grey, will be reproduced semi-transparent based on the amount ofcolor hue included therein. For example, pure blue (#0000FF), pure red(# FF0000), and pure green (#00FF00) may each be reproduced as being 67%transparent (and 33% opaque) when the filter is applied to the video708.

As shown in FIG. 7B, upon applying the filter, portions 702 of theletters “F,” “U,” and “N” will be reproduced as opaque, portions 704surrounding the letters will be reproduced transparent, and portions 706of the letters “F,” “U,” and “N” will be reproduced as semi-transparentdepending on the specific color hue and the filter settings.

In another example, pure blue (#0000FF), pure red (# FF0000), and puregreen (#00FF00) may each be reproduced as being 33% transparent (and 67%opaque) when the filter is applied to the video 700.

As the coloring of the video changes over time while the video 708 isplayed, the portions of the video 708 which are fully transparent andthose which are fully opaque will also change to match the change incolor hues, providing a life-like reproduction effect for thetransparency. This method is particularly applicable to adding effectsto a media composition, such as smoke, gloom, and age-induced wear to beshown on or in addition to other pre-existing elements.

In one approach, the video may be modified prior to applying the filterto produce a better rendering of the transparent portions. In anexample, pixel colors in the video 708 may be flattened, reduced, and/orcompressed to increase the portions of the video which are full whiteand therefore made transparent upon rendering. This increase in thewhite portions of the video allows for the desired black portions to bethe only visible portions of the video with less semi-transparentcontent. In one embodiment, the brightness of the video may be increasedto increase a percentage of the video that contains full white pixels.In another embodiment, the brightness of the video may be decreased toincrease a percentage of the video that contains full black pixels.

This modification of the color hues of the pixels is particularly usefulfor editing videos which include noise (color hues spread across thevideo 708 in positions that are desired to be made transparent uponapplying the filter).

Any other modification or processing of the video may be performed priorto providing the transparency as would be known to one of skill in theart, while still allowing for transparency to be added to the video.This allows for non-native video formats to have an alpha channel addedthereto for use in a media composition that includes layers of elements.

Example Processes

To enable the reader to obtain a clear understanding of thetechnological concepts described herein, the following processesdescribe specific steps performed in a specific order. However, one ormore of the steps of a particular process may be rearranged and/oromitted while remaining within the contemplated scope of the technologydisclosed herein. Moreover, different processes, and/or steps thereof,may be combined, recombined, rearranged, omitted, and/or executed inparallel to create different process flows that are also within thecontemplated scope of the technology disclosed herein. Additionally,while the processes below may omit or briefly summarize some of thedetails of the technologies disclosed herein for clarity, the detailsdescribed in the paragraphs above may be combined with the process stepsdescribed below to get a more complete and comprehensive understandingof these processes and the technologies disclosed herein.

FIG. 8 is flow diagram of an example process for applying a parallaxeffect to a set of stacked visual elements. In operation 802, a mediaasset describing a media composition is obtained. The media asset mayinclude some or all data and information needed to render and play amedia composition, along with information describing a parallax effectto be applied to the media composition (or layers thereof). In oneembodiment, the parallax effect may be responsive to an input position.The media asset includes positional information for each visual elementand shifts for the visual elements in response to changing inputposition (or some other trigger or condition). The media compositioncomprises a plurality of layers, each layer including a visual element.In various examples, the media composition may include video elements,image elements, animation, etc., and may be of any type of mediacomposition known in the art.

In an example, the media composition may be received from anotherelectronic device, such as a mobile phone, laptop computer, mediaserver, home media television device, etc. In another example, the mediacomposition may be created based on the individual visual elements, withlayering and positioning information included to present a completemedia composition. Such a media composition may be created using anapplication specific to designing, assembling, and creating mediacompositions.

In operation 804, at least some of the layers of the media compositionare selected to have a parallax effect applied thereto. In an example,the selection of which layers to have parallax effect applied theretomay be received as input from a designer or user. In another example,the selection of which layers to have parallax effect applied theretomay be automatically made as a result of historical preference, designand layout of the media composition, or some other basis on which toselect certain layers for having the parallax effect applied thereto aswould be understood by one of skill in the art. In one example, alllayers of the media composition may be automatically selected to havethe parallax effect applied thereto as a default setting.

In operation 806, an amount of total parallax effect to apply to theselected layers is determined. The amount of total parallax effect maybe determined based on a frame size, a canvas size, a size of one ormore layers of the media composition, or any other parameter related tothe media composition and/or GUI in which the media composition will bedisplayed.

As shown in operation 808, an appropriate amount of offset is determinedto apply to each of the selected layers on an individual basis. Thedetermined appropriate amount of offset does not exceed the amount oftotal parallax effect. In one approach, the amount of offset may bedetermined based on an input position. The input position may bereceived through a user input device, such as a mouse, trackpad, remotecontroller, etc.

In operation 810, the selected layers are shifted in one or moredirections by their respective appropriate amounts of offset. In oneapproach, the one or more directions of shift may be determined based onthe input position. In another approach, the one or more directions ofshift may be rotated continuously to provide a gimbal effect for themedia composition.

As shown in operation 812, the media composition showing the parallaxeffect is displayed. The media composition may be displayed on anelectronic display device, and may, in some approaches, be shown in aGUI that displays other media compositions for selection therefrom.

FIG. 9 is flow diagram of an example process for providing transparencyto a video. In operation 902, a video is obtained. In an example, thevideo may be created, received from another electronic device, retrievedfrom a storage medium, or in some other way attained. In one approach,the video lacks transparency in its native definition or format.

In operation 904, it is determined which first portions of the videowill be reproduced without alteration, and consequently which secondportions of the video will be made transparent. This determination maybe based on user input which selects a color hue from the video, and allof the color hues that match the selected color hue are marked for beingmade transparent. In another example, the determination may be madeautomatically, by selecting a background of the video to be madetransparent. In other examples, a different portion of the video may beselected for transparency, depending on the video content includedtherein.

As shown in operation 906, a secondary video track is created thatincludes visual information for only the first portions of the videothat are to be reproduced. In the secondary video track, the firstportions of the video contain a single color hue, such as white (#FFFFFF) or black (#000000) in two examples, while the remaining portionof the secondary video track includes no visual data. However, any colormay be used in the secondary video track to indicate the first portionsof the video that are to be reproduced, in various approaches.

In operation 908, the video is modified to include the secondary videotrack which creates a multiple track video having the original videotrack and the secondary video track.

In operation 910, the multiple track video is stored as a single entity(e.g., a file) to a storage medium. In several approaches, the secondaryvideo track may be reproduced below the original video, above theoriginal video, or to one side of the original video.

In optional operation 912, a modified video having transparency insecond portions thereof is displayed by applying a filter to themultiple track video. The filter is configured to read the secondaryvideo track, detect the first portions of the secondary video trackhaving the designated color (e.g., white or black), and only reproducethe first portions of the modified video that coincide with the firstportions of the secondary video track.

FIG. 10 is flow diagram of another example process for providingtransparency to a video. In operation 1002, a video is obtained. In anexample, the video may be created from scratch, assembled together usingmedia content available to a processor, received from another electronicdevice, retrieved from a storage medium, or in some other way attained.In one approach, the video lacks transparency in its native definitionor format as obtained.

In operation 1004, it is determined which first portions of the videowill be reproduced without alteration based on a color of the firstportions, and consequently which second portions of the video will bemade transparent. All first portions of the video have the same color.

In one approach, this determination is made by determining a predominantbackground color of the video. In one approach, the predominantbackground color is determined by selecting a most common pixel color inthe video which is not located within a central 50% of the video (e.g.,along the edges of the video, so most likely not the subject or mainfocus of the video). In one example, the predominant background colormay be white. In another example, the predominant background color maybe black.

Once the predominant background color is determined, all portions of thevideo which include the predominant background color are selected as thesecond portions of the video. In this example, an inverse color to thepredominant background color is chosen to represent the first portionsof the video which will be reproduced without alteration. For example,white is the inverse of black, purple is the inverse of green, yellow isthe inverse of blue, etc.

In optional operation 1006, the video is modified or edited to increasesecond portions of the video (a certain amount of pixels in the video)that have the inverse color to the color of the first portions to createa modified video. This modification increases the second portions of thevideo which are made transparent as well as increasing the firstportions of the video which will be reproduced without alteration.

In operation 1008, transparency is added to the video (or the modifiedvideo) during playback by rendering all of the second portions of thevideo transparent, all of the first portions of the video opaque, andall other portions of the video semi-transparent depending on specificcolor hues of the other portions.

Graphical User Interfaces

This disclosure above describes various Graphical User Interfaces (GUIs)for implementing various features, processes or workflows. These GUIscan be presented on a variety of electronic devices including but notlimited to laptop computers, desktop computers, computer terminals,television systems, tablet computers, e-book readers and smart phones.One or more of these electronic devices can include a touch-sensitivesurface. The touch-sensitive surface can process multiple simultaneouspoints of input, including processing data related to the pressure,degree or position of each point of input. Such processing canfacilitate gestures with multiple fingers, including pinching andswiping.

When the disclosure refers to “select” or “selecting” user interfaceelements in a GUI, these terms are understood to include clicking,lingering, and/or hovering with a mouse, trackpad, touchscreen, or otherinput device over a user interface element, or touching, tapping orgesturing with one or more fingers or stylus on a user interfaceelement. User interface elements can be virtual buttons, menus,selectors, switches, sliders, scrubbers, knobs, toggles, thumbnails,links, icons, radio buttons, checkboxes and any other mechanism forreceiving input from, or providing feedback to a user.

Privacy

It is well understood that the use of personally identifiableinformation should follow privacy policies and practices that aregenerally recognized as meeting or exceeding industry or governmentalrequirements for maintaining the privacy of users. In particular,personally identifiable information data should be managed and handledso as to minimize risks of unintentional or unauthorized access or use,and the nature of authorized use should be clearly indicated to users.

Example System Architecture

FIG. 11 is a block diagram of an example computing device 1100 that canimplement the features and processes of FIGS. 1-10. The computing device1100 can include a memory interface 1102, one or more data processors,image processors and/or central processing units 1104, and a peripheralsinterface 1106. The memory interface 1102, the one or more processors1104 and/or the peripherals interface 1106 can be separate components orcan be integrated in one or more integrated circuits. The variouscomponents in the computing device 1100 can be coupled by one or morecommunication buses or signal lines.

Sensors, devices, and subsystems can be coupled to the peripheralsinterface 1106 to facilitate multiple functionalities. For example, amotion sensor 1110, a light sensor 1112, and a proximity sensor 1114 canbe coupled to the peripherals interface 1106 to facilitate orientation,lighting, and proximity functions. Other sensors 1116 can also beconnected to the peripherals interface 1106, such as a global navigationsatellite system (GNSS) (e.g., GPS receiver), a temperature sensor, abiometric sensor, magnetometer or other sensing device, to facilitaterelated functionalities.

A camera subsystem 1120 and an optical sensor 1122, e.g., a chargedcoupled device (CCD) or a complementary metal-oxide semiconductor (CMOS)optical sensor, can be utilized to facilitate camera functions, such asrecording photographs and video clips. The camera subsystem 1120 and theoptical sensor 1122 can be used to collect images of a user to be usedduring authentication of a user, e.g., by performing facial recognitionanalysis.

Communication functions can be facilitated through one or more wirelesscommunication subsystems 1124, which can include radio frequencyreceivers and transmitters and/or optical (e.g., infrared) receivers andtransmitters. The specific design and implementation of thecommunication subsystem 1124 can depend on the communication network(s)over which the computing device 1100 is intended to operate. Forexample, the computing device 1100 can include communication subsystems1124 designed to operate over a GSM network, a GPRS network, an EDGEnetwork, a Wi-Fi or WiMax network, and a Bluetooth™ network. Inparticular, the wireless communication subsystems 1124 can includehosting protocols such that the device 100 can be configured as a basestation for other wireless devices.

An audio subsystem 1126 can be coupled to a speaker 1128 and amicrophone 1130 to facilitate voice-enabled functions, such as speakerrecognition, voice replication, digital recording, and telephonyfunctions. The audio subsystem 1126 can be configured to facilitateprocessing voice commands, voiceprinting and voice authentication, forexample.

The I/O subsystem 1140 can include a touch-surface controller 1142and/or other input controller(s) 1144. The touch-surface controller 1142can be coupled to a touch surface 1146. The touch surface 1146 andtouch-surface controller 1142 can, for example, detect contact andmovement or break thereof using any of a plurality of touch sensitivitytechnologies, including but not limited to capacitive, resistive,infrared, and surface acoustic wave technologies, as well as otherproximity sensor arrays or other elements for determining one or morepoints of contact with the touch surface 1146.

The other input controller(s) 1144 can be coupled to other input/controldevices 1148, such as one or more buttons, rocker switches, thumb-wheel,infrared port, USB port, and/or a pointer device such as a stylus. Theone or more buttons (not shown) can include an up/down button for volumecontrol of the speaker 1128 and/or the microphone 1130.

In one implementation, a pressing of the button for a first duration candisengage a lock of the touch surface 1146; and a pressing of the buttonfor a second duration that is longer than the first duration can turnpower to the computing device 1100 on or off. Pressing the button for athird duration can activate a voice control, or voice command, modulethat enables the user to speak commands into the microphone 1130 tocause the device to execute the spoken command. The user can customize afunctionality of one or more of the buttons. The touch surface 1146 can,for example, also be used to implement virtual or soft buttons and/or akeyboard.

In some implementations, the computing device 1100 can present recordedaudio and/or video files, such as MP3, AAC, and MPEG files. In someimplementations, the computing device 1100 can include the functionalityof an MP3 player, such as an iPod™.

The memory interface 1102 can be coupled to memory 1150. The memory 1150can include high-speed random-access memory and/or non-volatile memory,such as one or more magnetic disk storage devices, one or more opticalstorage devices, and/or flash memory (e.g., NAND, NOR). The memory 1150can store an operating system 1152, such as Darwin, RTXC, LINUX, UNIX,OS X, WINDOWS, or an embedded operating system such as VxWorks.

The operating system 1152 can include instructions for handling basicsystem services and for performing hardware dependent tasks. In someimplementations, the operating system 1152 can be a kernel (e.g., UNIXkernel). In some implementations, the operating system 1152 can includeinstructions for performing voice authentication. For example, operatingsystem 1152 can implement the parallax effect in a media composition andprovide transparency to videos therefor, as described with reference toFIGS. 1-10.

The memory 1150 can also store communication instructions 1154 tofacilitate communicating with one or more additional devices, one ormore computers and/or one or more servers. The memory 1150 can includegraphical user interface instructions 1156 to facilitate graphic userinterface processing; sensor processing instructions 1158 to facilitatesensor-related processing and functions; phone instructions 1160 tofacilitate phone-related processes and functions; electronic messaginginstructions 1162 to facilitate electronic-messaging related processesand functions; web browsing instructions 1164 to facilitate webbrowsing-related processes and functions; media processing instructions1166 to facilitate media processing-related processes and functions;GNSS/Navigation instructions 1168 to facilitate GNSS andnavigation-related processes and instructions; and/or camerainstructions 1170 to facilitate camera-related processes and functions.

The memory 1150 can store software instructions 1172 to facilitate otherprocesses and functions, such as the parallax effect and videotransparency processes and functions as described with reference toFIGS. 1-10.

The memory 1150 can also store other software instructions 1174, such asweb video instructions to facilitate web video-related processes andfunctions; and/or web shopping instructions to facilitate webshopping-related processes and functions. In some implementations, themedia processing instructions 1166 are divided into audio processinginstructions and video processing instructions to facilitate audioprocessing-related processes and functions and video processing-relatedprocesses and functions, respectively.

Each of the above identified instructions and applications cancorrespond to a set of instructions for performing one or more functionsdescribed above. These instructions need not be implemented as separatesoftware programs, procedures, or modules. The memory 1150 can includeadditional instructions or fewer instructions. Furthermore, variousfunctions of the computing device 1100 can be implemented in hardwareand/or in software, including in one or more signal processing and/orapplication specific integrated circuits.

What is claimed is:
 1. A method comprising: obtaining, by a computingdevice, a media asset describing a media composition for display on anelectronic display device, the media composition comprising a pluralityof layers, each layer including at least one visual element; selecting,by the computing device, at least some of the layers of the mediacomposition to have a parallax effect applied thereto; determining, bythe computing device, an amount of total parallax effect to apply to theselected layers; determining, by the computing device, an appropriateamount of offset to apply to each of the selected layers; shifting, bythe computing device, the selected layers in one or more directions bytheir respective appropriate amounts of offset; and displaying, by thecomputing device, the media composition showing the parallax effect onthe electronic display device.
 2. The method as recited in claim 1,wherein the at least one visual element includes text, video, image,animation, or a combination thereof.
 3. The method as recited in claim1, wherein the media asset comprises positioning information for eachvisual element within a corresponding layer of the plurality of layers.4. The method as recited in claim 1, wherein the media asset comprisesindication of the selected layers to apply the parallax effect.
 5. Themethod as recited in claim 1, wherein the selected layers are determinedbased on historical preference, a number of visual elements within atleast one layer, a type of the at least one visual element within atleast one layer, or a combination thereof.
 6. The method as recited inclaim 1, wherein the amount of total parallax effect is determined basedon a frame size, a canvas size, a size of one or more layers of theplurality of layers, or a combination thereof.
 7. The method as recitedin claim 1, wherein the one or more directions to shift the selectedlayers and the respective appropriate amounts of offset to apply to eachof the selected layers are determined based on user input to thecomputing device.
 8. A method comprising: obtaining, by a computingdevice, a video for display on an electronic display device;determining, by the computing device, first portions of the video to bereproduced without alteration; creating, by the computing device, asecondary video track that includes visual information for only thefirst portions of the video that are to be reproduced withoutalteration; modifying, by the computing device, the video to include thesecondary video track to create a multiple track video; storing, by thecomputing device, the multiple track video to a storage medium; anddisplaying, by the computing device, a modified video with transparencyin second portions thereof by applying a filter to the multiple trackvideo.
 9. The method as recited in claim 8, further comprising, prior todisplaying the modified video: obtaining, by the computing device, amedia composition comprising at least two layers, a lower layer of theat least two layers including at least one visual element; adding, bythe computing device, the multiple track video to an upper layer of theat least two layers; determining, by the computing device, anappropriate amount of offset to apply to the multiple track video toachieve a parallax effect for the media composition; and shifting, bythe computing device, the upper layer comprising the multiple trackvideo in one or more directions by the appropriate amount of offset,wherein the media composition shows the parallax effect applied to atleast the upper layer when the multiple track video is displayed. 10.The method as recited in claim 9, wherein the at least one visualelement includes text, video, image, animation, or a combinationthereof.
 11. The method as recited in claim 9, wherein the appropriateamount of offset to apply to the multiple track video is determinedbased on a frame size, a canvas size, a size of the upper layer, or acombination thereof.
 12. The method as recited in claim 9, wherein theone or more directions to shift the multiple track video and theappropriate amount of offset to apply to the multiple track video aredetermined based on user input to the computing device.
 13. The methodas recited in claim 9, wherein the one or more directions to shift themultiple track video and the appropriate amount of offset to apply tothe multiple track video vary in accordance with a default configurationwhen the multiple track video is displayed.
 14. A method comprising:obtaining, by a computing device, a video for display on an electronicdisplay device; determining, by the computing device, first portions ofthe video to be reproduced without alteration based on a color of thefirst portions; modifying, by the computing device, the video toincrease second portions of the video, the second portions of the videohaving an inverse color to the color of the first portions to create amodified video; and adding, by the computing device, transparency to themodified video during playback by: rendering the second portions of themodified video transparent; rendering the first portions of the modifiedvideo opaque; and rendering all other portions of the modified videosemi-transparent depending on specific color hues of the other portionsof the modified video.
 15. The method as recited in claim 14, furthercomprising performing, by the computing device, playback of the modifiedvideo.
 16. The method as recited in claim 14, further comprising, priorto performing playback of the modified video: obtaining, by thecomputing device, a media composition comprising at least two layers, alower layer of the at least two layers including at least one visualelement; adding, by the computing device, the modified video to an upperlayer of the at least two layers; determining, by the computing device,an appropriate amount of offset to apply to the modified video toachieve a parallax effect for the media composition; and shifting, bythe computing device, the upper layer comprising the modified video inone or more directions by the appropriate amount of offset, wherein themedia composition shows the parallax effect applied to at least theupper layer when playback of the modified video is performed.
 17. Themethod as recited in claim 16, wherein the at least one visual elementincludes text, video, image, animation, or a combination thereof. 18.The method as recited in claim 16, wherein the appropriate amount ofoffset to apply to the modified video is determined based on a framesize, a canvas size, a size of the upper layer, or a combinationthereof.
 19. The method as recited in claim 16, wherein the one or moredirections to shift the modified video and the appropriate amount ofoffset to apply to the modified video are determined based on user inputto the computing device.
 20. The method as recited in claim 16, whereinthe one or more directions to shift the modified video and theappropriate amount of offset to apply to the modified video vary inaccordance with a default configuration during playback of the modifiedvideo.